#romeo i julia

[smokedgastropod]

izabela łęcka i jej umiejętność czytania

czyli poczytaj ze mną lalkę ;D feat. romeo i julia

izabela jest dość kontrowersyjną postacią, ponieważ pomimo jej katastrofalnego wpływu na wokulskiego jest wyraźnie zaznaczone w powieści, że raczej nie jest za to bądź za niego odpowiedzialna. trudno oceniać moralność postaci tak głęboko zagmatwanych w kulturę - tutaj chcę się skupić na jednym fragmencie, o tym, jak postrzeganie świata izabeli zostało przedstawione przez jej interpretację "romea i julii".

izabela egzemplarz dramatu dostała od rossiego i czyta go, ponieważ nie odwiedził jej w czasie swojej wizyty w wwie. fantazjując o niedoszłym spotkaniu przychodzi jej na myśl wokulski:

wyobrażenie sobie wokulskiego jako pobłażliwie głaskanego psa mówi bardzo wiele o tym, na jaką rolę on wg. niej może zasługiwać. nie jest to pierwszy raz jak nasz stach jest porównywany do psa łęckich:

czytając, izabela deklamowałaby wokulskiemu skargę romea, jakby była powiedziana przez rossiego o niej. myśli o tym z przyjemnością - status łęckiej opiera się na byciu pożądaną przez mężczyzn. czuje się bardziej *obrażona* niż zrozpaczona kiedy jakiś się dla niej nie poświęca. to jest pierwsza rzecz która odróżnia ją od julii, która rzeczywiście kocha romea i pragnie z nim być, cierpi z powodu rozłąki. ten fakt jakby nie był zarejestrowany przez izabelę, która "wciela się" w tę niecierpiącą "julię" w tym wymyślonym scenariuszu. izabeli jest lepiej jako *obiekt* adoracji cierpiącego mężczyzny niż jako zakochana kobieta, więc przeinacza scenę z dramatu.

dobrze, a czemu mówi to wokulskiemu?

bo wie, że wokulski jak pies znosiłby wszystko i nadal poświęcał się dla niej. nie czuje się źle z tego powodu, nie czuje się mu coś winna, nie czuje, jakby go wykorzystywała.

przerwa od analizy. teraz musimy się umówić, kochani, że nieważne ile hajsu wokulski wrzuca w izabelę, ona *nie* jest zobowiązana do żadnego uczucia względem niego. masę konkretnie *chłopców* ma z tym problem, ale kobiety nie muszą za życzliwość mężczyzn płacić relacją z nimi.

ten sentyment nie wyklucza się jednak z innym: izabela nie jest tępa, i wie, że wykorzystuje *nie tylko* życzliwość wokulskiego, ale i jego miłość do niej. i tu zaczyna się inny parallelizm do julii wg. łęckiej i jej obecnej sytuacji - jako obiekt westchnień romea, "julia" ma nad nim władzę. władzę kontrolowania dostępu do siebie:

może go pogardliwie drapać pod brodą i łaskawie pozwalać na leżenie u jej stóp. oczywiście w oryginale, jak to w romansach bywa, miłość obnaża obu kochanków - julia może złamać i kontrolować serce romea, ale romeo również może tak zrobić julii. w "władzy" biegnącej z wrażliwości, intymności i znania drugiej osoby jest równość. branie pod uwagę swojej możliwości do manipulowania drugiej osoby nie jest dobrym fundamentem na miłość, point blank. co było tragedią odseparowania od kochanka przez siły wyższe w fantazji izabeli jest prawem kobiety do bycia słabością mężczyzn i wykorzystywania tego faktu, choćby powodowało to cierpienie.

czytając dalej, napotyka na najbardziej znany lament julii. julia kocha romea i cierpi, że z powodu jego rodu (imienia) nie mogą być razem. jego wysokie urodzenie nie obchodzi julii, ją uwiódł chłopak przy pomocy boleśnie chrześcijańskiego flirtu (lmao). gdyby nie *pochodzenie* romea, mogliby być tak szczęśliwi!

łęcka natomiast:

sama przyznaje, że poza byciem niedostępnym śpiewakiem, rossi jej nie imponuje.

gardzi samym pomysłem bycia z nim w... prawdziwej relacji? takiej, w której ludzie są ze sobą na co dzień?

kolejny dowód na to, że w swojej fascynacji niektórymi panami łęcka nie ma za cel rzeczywistej relacji z nimi. "tragizm" jest tym co ją przyciąga - fantazjuje o rossim, o posągu apollina. nie chce spełnienia, jedynie komfort, stałość, hołd.

izabela zauważa, że jako powierniczka florentyna po prostu nie dałaby jej takiej satysfakcji, jak dewocja wokulskiego, która jest świadectwem dobrze wypełnionej roli społecznej. czy winą izabeli, że jej rolą jest być usługiwaną? pożądaną? że nie potrafi przestawić się na lichą rolę czyjejś żony?

[bitwa-lektur-szkolnych]

Adam Mickiewicz – Reduta Ordona

Stefan Żeromski – Przedwiośnie

[malusienki]

amidst reading through r&j polish edition i might’ve maybe accidentally sorta kinda maybe gotten @mimi-croissant into the bencutio rabbit hole again… sorry bro.

[sirianasims]

[wickedthing]

a beautiful lesbian couple

[theghostparty]

Roméo et Juliette: de la Haine à l'Amour - Redesign

This redesign is nowhere near finished (currently inking a Le Bal as we speak), but just wanted to drop a preview of what is to come.

...I said it was maximalist and bonkers, didn't I?

...did I also mention that everyone casted is being pulled from a different iteration of the musical?

[giuliettacapuleti]

No but the way Júlia and Tybalt (In Rómeó és Júlia especially but in every adaption actually) perfectly mirror each other in the way they are being stifled by the role they play due to their gender and how it fucks them up, as well as the way they completely reject their roles (specifically in Rómeó és Júlia)? We have Tybalt, who was forced to be as violent and protective of his family as possible despite the heavy implication that he was a sensitive and dreamy child, not to mention the way his views of sex and love were shaped by social conventions (and specifically his father).

I’m going by the Italian Renaissance societal mores here, even though resj presumably takes place in a quasi-dystopian or post-dystopian future/Alternate Universe. During the Italian Renaissance, male children spent very little time with a nurse because that was considered ‘feminine’, and were sent off to school at a very young age. Although family was still considered the most important thing, actual familial relationships were hard to cultivate presuming that child was away at school. Now, it could be that I’m looking way too much into this and no one even thought about Tybalt’s childhood regarding him going away to school or being taught by a tutor at home, so I could be way off, BUT my point is that the emotions regarding family were strictly based on the masculine ‘protector and provider’ aspect rather than tenderness and actually spending time with family.

You can even see this in modern western society! It is only within the past few decades that men started to spend more time with their children, and do traditionally ‘feminine’ things for their kids like changing diapers, feeding etc. The idea of a Father being a provider rather than a caregiver has even carried over to society today - men are still praised for running errands with their children and doing activities with them without the mother present. These men are just seen as being ‘babysitters’ ‘helping out mom’ when they should simply be seen as parents doing their job as parents. It’s unnecessary to go into the negative impact this has had on both men and women, but my point is that this ‘nuture vs provide and protect’ view is still prevalent today, and was 100x worse in the Itaian Renaissance Era (and presumably society in resj).

So Tybalt is burdened with the duty to protect his family, but we see he, unlike his father, actually wants to be close emotionally to his family. The best evidence for this is his relationships to women in his family. I’ve made another post about this, but basically Tybalt’s father has taught him that women are literally ‘objects’, and the goal is to sleep with as many women as possible with absolutely no emotional attachment or respect for the women they sleep with. Tybalt, per his own admission in Ez A Kéz Utolér, mentions sleeping with many women indiscriminately, and not being emotionally attached to any of them. But as the song goes on we realize that he doesn’t want that. He is in love with Júlia, and clearly does not see her as an object. He doesn’t believe any man is good enough for her (least of all him).

Now, I’ve seen it argued that he doesn’t actually see Júlia as her own person, only the ideal of her, and even has the whole ‘Madonna/Whore Complex’ going on, which is certainly a valid argument, but I’m not sure I agree with it.

I think he sees himself in Júlia - the sensitive and loving child he never got to be. It’s possible a part of him does not want to see Júlia lose her innocence (not necessarily in a creepy way), and become like him.

Don’t get me wrong, his love for Júlia is definitely creepy and a good amount of his rage comes from romantic (and presumably sexual) jealousy. He mentions that he never loved any of the women he slept with, and has only ever loved Júlia. According to his father, love is just a weakness and women are just for sex, but clearly Tybalt doesn’t agree.

Possibly the ONLY healthy relationship he has (err, had) in his life is with the Nurse - he is seen holding her hand at the ball and she embraces his body after he dies, and has to be pulled away by a servant. I believe this is possibly a nod to when the Nurse calls him the “best friend she had” in Shakespeare (another reason I love resj is the Shakespearen nods while doing its own thing).

Lady Capulet obviously loves Tybalt (judging by her reaction to his death), though his uncomfortable attraction does not seem to be reciprocated. The inclusion of his attraction to her could be another nod to Shakespeare - though it is not actually in the text, a fairly popular theory is that Tybalt and Lady Capulet were lovers (it’s possibly worth noting that Lady Capulet was likely closer in age to Tybalt than Lord Capulet). Personally I don’t think there was any inappropriate relationship in Shakespeare, but in a way it works specifically for the Capulets in resj - the relationships they have are not healthy at all: they lack boundaries, can’t communicate, and can’t express their (familial) love until it’s too late.

Obviously, Tybalt doesn’t have a healthy relationship with his aunt and has some kind of weird attraction to her, possibly as a result of only caring (in general) about the Capulets. Yet he seems to listen to Lady Capulet in a way he doesn’t to Lord Capulet - Lady Capulet orders him to find Rómeó, and later presumably to kill him (when she talks to him in his room).

So, my point is that Tybalt, despite claiming that women are just objects, has the most important (and possibly only important) relationships with women.

Anyway Tybalt is messed up and complex and the Capulets are even more dysfunctional than in romeó et juliette send tweet.

[crazyw3irdo]

uploaded a mercutio compilation i made literal years ago and simply never posted lmao

[imyselfamstrange]

Tybalt Capulet (Part 2)

[mondscheinprinzessin]

I was seeing a ballet yesterday, and naturally I gained inspiration to make an AU for BC out of it, so here have Blind Channel as Giselle:

(tw: suicide(as in the original))

part I:

our main character of the story is Olli: a peasant boy living his life in a beautiful little village enclosed by forests and fields, son to a family owning the local tavern 🍻

due to his families good status, there's not many worries to his daily life

only: his heart

there's Aleksi, huntsman of the area, a young man who has grown up alongside Olli, their families close due to their professions, and for years the two boys have played together in the close creek, or the flower fields, or spend long evenings observing the drunk patrons, and Aleksi has always liked teaching Olli about the wildlife, the traces the animals left in the dirt, and adored how eagerly Olli has listened to his words, and how adorable he looked with his big eyes when Aleksi has found a particularly beautfiful flower 🌸

it was no surprise (to him or anyone else except Olli) that Aleksi fell in love, and for him it was etched in stone that Olli would marry him as soon as Aleksi asked him to

but then why did Olli block off all of his romantic advances?

it didn't deter Aleksi from his mission however; every day he would make sure to see him, and bring him and his family gifts, little presents that would make Olli's life brighter and keep him in his mind

part II:

Joonas has always liked the forest more than his home, a big castle with every richness that he could think of. but the thick tress around him gave him the one thing his status as a nobleman couldn't provide: freedom ⚜

the little village at the edge has always peeked his interest, and not even his squire could keep him from his newly formed plan

it was one day where he just had to wander off somewhere where noone knew him and his duties, and so he just dumped his mantle and sword into his squire's arms and ordered him to hide his possession in an abandoned shed

and oh how much lighter his steps were from then on, and how much fresher the air smelled, and...

how beautiful this boy looked!

it was by no means an easy feat to get the boy to even look at him without golden locks shielding his eyes, and rednes to cover his cheeks; his shyness the cutest thing Joonas has ever seen

but how much better it was even to be able to hold Olli's hands, to hold him by his waist, to spin him around, see him laughing!

his heart was gone, it was no longer his, all of it belonged to Olli, and Joonas was sure he would never meet someone as loving as him (there was an admonishing voice in the back of his head reminding him of a fiancé, but Joonas was good at keeping it quiet) 🌞

part III:

Aleksi, after time growing suspsicious that Olli was drawing back more and more, and wondered where his best friend and lover was venturing off to couldn't hold back a cry of pain when he saw him and a man of unknown to him arm and arm with each other

it couldn't be! Olli has been his forever, and should have been his forever! ⚡

he had to know who that man was, and so one evening Aleksi quietly followed the mystery man all the way to a shed, and witnessed as he put on a royal red cape, a sword, and took a trail that led him to a horse bound to a tree

this man couldn't be from here, couldn't be from their village or from any around them, there was only one conclusion, and Aleksi couldn't believe it

that nobleman could have everyone, had probably many people laying to his feet, but he had to come here, and take Olli away from him?!

meanwhile the harvesting festivities were in full swing and there was even word the Duke would come honour the village! 🍁🍂🧅

and it was Aleksi's perfect chance

after having to watch Olli and that lying man prance around the marketplace his time has come: just when the party of noblemen and the Duke was to arrive and Joonas took his leave, Aleksi took him by his collar and pinned him down to declare to the whole village what evil was among them, and opened Olli's eyes to the hoax he has fallen victim to

he produced the nobleman's sword as a proven fact, and it fell to the ground as loudly shattering to his ears as Olli's cries were

the madness has gotten him! Aleksi tried to support his friend's body, calling for him to be relieved, to spare his tears; it was alright now, Aleksi was by his side, danger was gone, he would never have to see that man again, but Olli only pushed him aside, trying to cling to Joonas who by now showed only defeat 💔🖤

it was a dance of lunacy, and Aleksi gasped when Olli took hold of Joonas' sword and-

it was too late. two pair of hands stretched to prevent him from doing this horrific act, but the sword was already pushed into his abdomen by his own doing

Olli was laying on the ground in a pool of blood that was quickly washed away by weeping men, both Aleksi and Joonas alike

part IV:

because of his suicide Olli wasn't granted a place in the local cemetery but had to be buried somewhere in the forest, at a place many sould have found their last place for many different but sad reasons

Aleksi was there this first night when on his way back home he made a detour to visit Olli's grave ✝

he could sit there for hours, staring, crying, screaming, regretting, so much regretting

dong dong dong dong dong dong dong dong dong dong dong dong

it was time, and Aleksi has lost it

this hour was for the vila, and this place was theirs to hunt: the many women who got abandoned on their wedding days and gotten their hearts broken and betrayed by men to the point of their deaths and were now on a path of vengeance 💢⚔

and they have gotten Aleksi circled, a lonesome grieving target, and he was theirs to use a puppet, to make him dance dance dance till the sun got up and his feet bled and his lungs gave up and his body broke and he joined the land of the dead

the same fate could fall upon Joonas, who just as Aleksi found his way to Olli's grave, and this night too he was there at the feet of the stone cross

and he could swear he was hearing Olli's whispering, and a swish of white fabric at the corner of his eye made him turn around and there he was: a beautiful etheral appearance

but it wasn't the only one. more and more white creatured with long hair and veiles appeared and within seconds it seemed he was in the center of them

one of them, glowing and with a crown sparkling in the moonlight, came gliding towards him-

but Olli was suddenly between them, begging to leave him be, but Joonas was already enchanted, his feet no longer dancing to his own will

and Olli was desperate, knew that every second was more like 30 minutes for Joonas, and he was aware he couldn't survive as long as their queen was continuining her plan of torture and her subjects of vila helped her bring death upon all men

Olli didn't want to be part of this; yes he had been betrayed, but he was one thing his queen never experienced: forgiving

he couldn't hate Joonas, he could never

it didn't matter who Joonas actually was, he had won his heart fair and square with his charm, and his wit and his jokes, and his warmth, and Olli didn't want him to suffer like he did; he had to protect him

he kept pleading as he protected Joonas to his best ability, they only had to make it to sunrise and they would be safe🌤

Olli could move on, and perhaps Joonas could move on, and his queen wouldn't have any power over both them anymore

it wasn't long any more, they had to make it!

dong dong dong dong dong dong

not long anymore!

END

There's three different endings to this story originally and you can decide for yourself if Joonas survives or not. Aleksi is supposed to die though, and for this story I think it would be nice if Olli is freed and he and Aleksi meet in some kind of after-life and continue to h(a)unt the forest together, playing like when they were children, Olli having forgiven him and understanding that Aleksi only wanted the best for him, and Aleksi understanding that no matter what he did he couldn't just decide to take Olli's heart. Happy end, all was well :)

[bitwa-lektur-szkolnych]

Justyna Bednarek – Niesamowite przygody dziesięciu skarpetek (czterech prawych i sześciu lewych)

William Szekspir – Romeo i Julia

[malusienki]

listen i might have the literacy of a 2nd grader in polish but that won’t stop me from wanting to read romeo and juliet in polish

romeo i julia

[cto10121]

The knowledge that Tybalt is Lady Capulet’s nephew and not Capulet’s quite literally haunts me. He isn’t even Capulet by blood and yet he is the most fierce and loyal of the Capulets, a de facto leader to the Capulet cousins. It makes so much sense, too. His aggressiveness powered not only by machismo but a deeply rooted insecurity. He is not Capulet enough so he acts as the most Capulet of them all; he takes on the burden of the feud. And still his uncle dismisses him and his observations. Add in his father’s death and Lady Capulet’s projection of him as his father’s son re: Hungarian RésJ and you get really meaty character motivation.

Maybe that’s why he hates Mercutio so much in the musical. Mercutio is an Escalus and yet he is accepted by the Montagues as one of their own with absolutely no issue. Whereas Tybalt feels he needs to prove his Capulet-ness, his masculinity, that he can fight for honor. It’s a slap in the face; he, Tybalt, had no choice in his house nor could ever be given one. He is a Capulet and he is not. He is a man and yet not quite.

Maybe that’s why he loves Juliet so much too. She is perhaps the few of his clan who accepts him as he is without demand, as well as being perhaps the most authentic and real of them all. She is also very firmly the Madonna in Tybalt’s Madonna-whore complex. And when all of that purity is threatened to be soiled by the Montague heir, of all people, of course he is triggered. Of course he seeks Romeo out. Of course he butts head with a taunting Mercutio. His tragedy is just as written in the stars as the lovers.

[sirianasims]

[pufferfishartblogorsth]

Uhh so basically my art blog (i suck at introduction) Main blog: https://www.tumblr.com/pufferflufferfish

Some artworks:

yeah mostly musical stuff

[theghostparty]

Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

If you missed part one with Roméo and Juliette, click here. Once again, long design explanation.

When designing Mercutio specifically, I turned very explicitly inwards in my belief that Mercutio is not a Montague and should not be tied to the Montagues solely. Furthermore, Mercutio has FAMILY--he's the Prince's cousin and if we want to get really semantic about it, he also has a brother, Valentine.

All this being said, in designing Mercutio, I needed to tie him to Le Prince (Escalus) and I did that mostly in dictating that these are the characters who are allowed to wear black, mostly black leather. It's a distinction that goes mostly unnoticed until its pointed out, but no other designs incorporate deep black tones. There's also this strong, olive green tone that borrows from the Montague palette and gold hardware that borrows from the Capulet palette. The Prince's family gets to straddle the line between both worlds.

I thought very texturally for the Montagues and Capulets, so in trying to give the Prince's family something distinct, I landed on this brushstroke texture to give all the leather and denim pieces a custom feeling.

In his Les Rois du Monde look (his base look--I imagine this explicitly directorial choice to have him and the Prince enter together at the top of Vérone and have Mercutio break away to join the Montagues), there is hints of this painterly texture in blue as opposed to the gold of the Prince. I wanted to feel like every alignment Mercutio has with the Montague family is an active choice on his part. I imagine him painted those swaths of blue himself. His trousers are a bleached faded, torn denim.

We see the true royal gold in Le Bal, like, I think it's just funny to think Mercutio already owned these trousers and said "Fuck it" and wore them to dress up in. His look is explicitly jester themed. It's a little bit "Earring Magic Ken Doll" coded, which delights me to no end.

This is also a good place to point out how fixated I became on closure methods in garments. In Roméo's initial design, there is a strong focus on zippers, Le Prince's jacket is held together with gold hook and eye tape at all the seams, and with Mercutio it's all about lacing.

Part of this is in reference to the explicitly gendered ideas around corsetry and playing with that in tandem with Mercutio's generally accepted queer readings. It's also an interesting metaphor to think about being bound--by duty, by honour, by friendship, by tradition--something that Mercutio is so explicitly caught in between in the Montague-Capulet feud.

His final look during Le Duel, is a take on a Jean Paul Gautier design, and is the most partisan look for Mercutio. Doffing his jacket exposes this soft satin and coutil corset top in the faintest hint of blue. A soft underbelly of allegiance that would take to stage blood SO well (and would make who ever was dressing and laundering this show absolutely hate me as a designer, but I digress).

I also think it makes him a nice mirror to Tybalt, who's overarching design element is gold chains.

Tybalt's design is wholly referential to Mark Seibert's Tybalt. Is it because I can never get that little gold and red cropped jacket out of my brain? Perhaps. But I also like to think that design for Tybalt acts as a reflection of Mercutio. The inherent softness assigned to the Capulet family's design (silks, velvets, chiffons) plays really nicely with how much machismo is implied in Tybalt's characterization.

During Vérone, we see him in a half doublet, likely of a low-pile velvet, a satin faced silk period shirt open in an absolutely impractical way, and a floral print denim trouser. I also gave him a little cuban-heeled boot. For fashion.

Tybalt is a good place to also point out that weapons are very intentionally placed in and out of scenes. Mercutio always has a dagger. Roméo leaves his behind during Aimer. Benvolio does not carry one. Tybalt has an ornately sheathed sword. There is this undercurrent of violence for these characters that is dressed up and dressed down, but persists.

In Le Bal, I really leant into the idea of chainmail for this character, in keeping with the concept of chivalry and Arthurian influences. There's a little bit of royal purple thrown in there for good measure as well as a jaw-bone mask that, at best, is foreshadowing and, at its shallowest, looks cool as hell.

During Le Duel, I wanted to strip our fighters down to exposed skin. A lot of this is to do with one of my favourite versions of this scene, Zeffirelli's 1968 Romeo and Juliet. What I love about the sequence is how it devolves from nobel duel to outright brawl--from a distance to something very close and personal. It's the type of step by step tension-building that I really enjoy: where there are moments (when they're just shouting words back at forth, when they're drawing their weapons, when Mercutio would doff his jacket, when Tybalt doffs his doublet) when the fight could have de-escalated. When they could have walked away. But of course, it's not the play if they do.

I just imagine seeing Mark Seibert and Bereczki Zoltán fight would be fun, ultimately.

And now onto Benvolio. I fixated on paring down his looks, and quite frankly, if it weren't for how much I enjoy his little twink clubbing outfit, I would have probably only given him one costume. My justification for this is that Benvolio gets to live. Ostensibly, he has a lifetime past this play of changing to do. I feel very strongly about the idea of Benvolio as a narrator, Benvolio as a passive presence that is forced to become active. He's not certain in the same way that Roméo and Mercutio are about love and hate. He literally spends a whole song stagnating and waffling on how the hell he's going to tell his cousin that his wife is dead. He runs around following their impulses, patching over their problems. I have a lot of feelings about Benvolio as a character.

He's really the softest of the Montague characters in textures: his doublet is torn and slashed denim, his shirt is some sort of billowy linen blend. He has a little bit of metal flair in the form of this thigh adornment, but really he's quite simple--and my comparison to Roméo and Mercutio, he's quite warm. That hint of magenta on Roméo is a full on feature on Benvolio.

I accept any and all slander about my choices for his Le bal look, but by god do I think it's silly and it brings me joy. Suit of armour under ripped green denim, a little navy ribbed singlet with a silver chainmail crop top over it? Lensless silver glasses frames? It makes no real sense, but I stand by my "We're sneaking into the Capulet's ball tonight with very short notice, here's what we can cobble together" reasoning.